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noahhawthorneauthor · 3 months

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Guess what? You can now buy a good majority of my books directly through Ingram Spark, cutting out the middle man. This allows me to sell them at a cheaper price, which works out great for both me, and readers. You can check out this post to find all the available links.

#aelina isaacs #noah hawthorne #queer books #indie books #indie author #trans author #lgbtia+ books #gay books #books to read #fantasy books #dark fantasy books #steampunk books #urban fantasy books

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scifrey · 7 months

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It's time to start the cover reveals!

I will be re-releasing six of my backlisted novels in the next handful of months, and I'm happy to share the brand new covers!

They were created by the crazy awesome and talented @once-upon-a-reblog!

First up, the two novels of The Skylark's Saga.

What do you think??? Gorgeous, right?

Both books will be re-released sometime in 2024, and I'm working hard for it to be early in the year.

In the meantime you can read excerpts here AND you can listen to the song by Victor Sierra inspired by the duology here!

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pastel-books12 · 6 months

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The Hunchback Assignments By Arthur Slade

The mysterious Mr. Socrates rescues Modo, a child in a traveling freak show. Modo is a hunchback with an amazing ability to transform his appearance, and Mr. Socrates raises him in isolation as an agent for the Permanent Association, a spy agency behind Brittania's efforts to rule the empire. At 14, Modo is left on the streets of London to fend for himself. When he encounters Octavia Milkweed, another Association agent, the two uncover a plot by the Clockwork Guild behind the murders of important men. Furthermore, a mad scientist is turning orphan children into automatons to further the goals of the Guild. Modo and Octavia journey deep into the tunnels under London and discover a terrifying plot against the British government. It's up to them to save their country.

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leannareneehieber · 8 months

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DARLINGS: Let's talk Professor Rychman & Miss Percy Parker, loves of my life, as we discuss STRANGELY BEAUTIFUL at Steampunk Book Club this month! STRANGELY BEAUTIFUL (revised, author preferred editions via @torbooks) has Jane Eyre in Dark Academia vibes + a sweeping Gothic romance, a brooding hero, a hot-for-teacher romance & MANY ghosts!

#gaslampfantasy #victorian #gothic #steampunk #paranormal #ghosts #strangelybeautiful #misspercyparker #book club #books and reading #book talk #author talk #steampunk books #historical fantasy #romantasy #fantasy romance #paranormal romance #gothic romance

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karen-carlisle-off-the-artboard · 10 months

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Launch Day: Cover Creation - Cogs and Conspiracies - Paperback Wrap (2023)

https://karenjcarlisle.com/2023/06/24/cover-creation-cogs-and-conspiracies-paperback-wrap-2023/

Today is paperback launch day! Cogs and Conspiracies is now available in both paperback and eBook!

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Five short tales set in a world of steampunk and alternate history, with adventures from England to the Antipodes. Here be villains, gadgets, mechanical creatures, secrets and conspiracies. All in time for tea.

Includes ‘Right on Time’ (published 2015 in Denizens of Steam anthology) and ‘All That Glitters’ (published 2016 in Den of Antiquity anthology) – plus three new side-stories with new characters from Karen J Carlisle’s world of The Adventures of Viola Stewart and The Department of Curiosities.

Get your copy

Buy DIRECT from the Author (AU$15.99)

Live outside Australia? RRP AU$15.99 / US$10.99

Official paperback released 24th May, 2023

Patrons received a sneak peek of this content.

#behind the scenes #book blog tour #books #cover creation #launch day #paperback #processes #short stories #steampunk books #The Adventures of Viola Stewart #The Department of Curiosities #writing

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lilareviewsbooks · 11 months

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I'm upset about "The Grace of Kings"

1 star

640 pages

Contains: I’m not even going to tell you because I don’t recommend you read this

This is a negative review! I'd very much not recommend reading it if you're emotionally invested in this series or if it has brought you any kind of joy. I'll be complaining about this book a lot. I'm sorry, but I really didn't like it!

I went into The Grace of Kings thinking I was going to become obsessed with this series. I’d heard very, very good things from reviewers I trust, all saying this is a series of epic proportions that engulfs you and draws you in. People even called it “unique”. Plus, I’d listened, last year, to Mr. LeVar Burton reading Mr. Liu’s famous The Paper Menagerie, and was moved to tears by that short story. I was ready to be dazzled.

I’m guessing that by my star rating you can infer that I was not dazzled.

The Grace of Kings has one of the most pitiful excuses for writing I have ever read. Especially after finishing a lyrical series, like Mr. Seth Dickinson’s brilliant The Masquerade Series, it’s almost impossible to enjoy Mr. Liu’s painfully dry writing style. It’s predictable and boring, leaving no room for nuance. This bleeds into the characterization, as we’re repeatedly told things about these characters we have – painful, dreadful – 600 pages to spend time with.

For instance, the author will show the audience that a character is picking up a bowl of rice. The next sentence is almost always, “he had picked up the rice bowl because he was very hungry, and hated being hungry”, explaining to us the character’s actions. This is, of course, perfectly fine if done in moderation, but dreadful when done frequently. And this is what Mr. Liu does: every decision gets explained, every thought is told to the audience. Absolutely nothing is left to the imagination. This makes the book boring and almost child-like, as it grabs you by the shoulders and painfully reminds you of why certain characters do certain things, as if it didn’t trust you to remember anything about these people you’ve spent so much time reading about.

But the writing misdemeanors don’t stop there. I can’t believe I’m saying this about a published piece of fiction that had multiple reviewers before being put out to the public, but the punctuation is just awful. It's not expressive at all, which causes most of the dialogue to read like it's being spoken in a monotone voice. Actually, no, maybe that's the fault of the dialogue itself, which is as dry as a desert and elicited absolutely no reactions from me even in its throes to be endearing, romantic or funny.

In addition, there are just funky little beginner mistakes. There are words repeated inside sentences, and I once ran into a sentence that had two clauses beginning in "because", one following the other. Plus, chapters end in odd places. Not in a way meant to enact suspense, or a cliff-hanger – though if Mr. Liu was trying to do so, he failed spectacularly – but just… ending. Out of nowhere. Leaving me to turn my pages in alarm, wondering if Amazon forgot to ship me an end to my chapter.

The characters are… fine, I guess, but like most of this book they feel half-baked. The plot is convoluted, to be kind, and a mess, to be frank. With the excuse of The Grace of Kings being "epic", Mr. Liu introduces a series of characters only to find a fate for them off-screen or kill them off in the next couple of chapters. There is no regard for the politics or fine details of administering a) a rebellion; b) a kingdom: c) anything at all, which is fine, I guess, but becomes quite ridiculous by the eleventh time someone unprepared has assumed the control of a province and is doing just fine at managing it. Until the halfway mark it's impossible to predict what's going to happen next – which is also fine, I guess – not because of any genius on Mr. Liu's part, but because the plot is just a bunch of strings all jumbled up together. After that it all becomes very predictable and the pacing is a hot mess, everything moving by super quickly as you watch in desperation – and it was about at that point that I stopped reading.

I also have a very specific bone to pick: why are characters moving from one part of the world to another in literal seconds? They do have flying airships but it's established you need a large crew and that they're only for military use. The lack of any thought to the movement of characters through the space is just an indication of how little care was put into the building of this world.

It's hard to explain just how terrible I found The Grace of Kings, and just how confused I am by everyone's high opinions of this book. I think the best way to put it into words is that it feels like I'm reading a rough – and let's say extra rough, for good measure – draft of what will one day become a great book, if it gets a good editor to take a look at it. The thought of continuing this series – or this book, I did DNF it – fills me with absolute dread. Suffice it to say, I won't be picking up the next book.

Unless someone offers me a thousand dollars. Then I'll reconsider. But I'll bargain, first.

#the dandellion dynasty #the grace of kings #sff books #fantasy books #book review #book reviews #book recommendations #epic fantasy #ken liu #steampunk books #Books books books #bad books

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starkidblogs · 1 year

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Do you guys know this book?

I just remembered a book i read when i was 14-15 years old. I think it was a graphic novel or comic/manga book. I only remember the ending of the first book.

This book was about a Steampunk Victorian era. Kids from the slums were going missing or found dead. The main character is a young girl (with red hair?) from a high-end family, but she loves racing and has her own motorcycle/bike. The next character is a young boy from the slum, (I think he is looking for his little sister/brother) who is also racing. During the race, they crash into each other, but i can't remember the rest of what happened. In the ending, i do recall them going deeper into the sewers? to find a load of "trash". When they finally stop to look around they find children's skulls and one that looks familiar. They realized that the city is using the missing children to fuel its steam machine and i think it was her father that is doing it. and that is how it ends. I never got to read the next book.

I can't remember the name but i know it has something to do with the city. If you guys know this book, please let me know. It has been on my mind for days and no matter how many times i try to google it, nothing comes up.

Edit: I believe that there was another young "boy" who was actually a steampowered robot sent to find the reded headed girl before the race. He is also about of a detective ¿agency? He also has memories of his human life before hand.

#steampunk #what book is this #do you guys know what book this is #searching for a book #steampunk books #Book about missing children

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bodhranwriting · 9 months

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I’m writing a book. It’s called Tocktick. It’s steampunk, every single main character is disabled and/or queer and it’s about an airship race around a colonised island (totally not Ireland at all).

#writeblr #writing #deaf #arcane skies #queer #fantasy #i’m writing a book #steampunk #writer #video #tiktok

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noahhawthorneauthor · 1 year

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Friends are Enemies. Enemies are Friends. And no one is safe.

War knocks on the door of every kingdom, discovered and unfamiliar. The Crew of Misfits and Expedition has merged to form the Company, a rag tag group of old and new friends, Giants and Fae. The Company stretches far and wide in search of allies, growing more doubtful of their Hero returning home. Even worse, if he does, they know he will never be the same.

Novak has found friends in the den of his enemy, earning freedom one heinous act at a time. With the Second Prince’s help, Novak has begun to unravel the mystery of Dragons and Angels, Gods and Ancients. Answers come with a price, however.

Bloodshed and ghosts taint Novak’s sanity and it’s time for him to make a choice. Die as the Hero, or Live as the Villain ?

🏴‍☠️🗡️🔥📚

What a wild ride this series has been. It is not a challenge when I say this book is dark beyond belief. But if you're familiar with the series, you already expected that. Or atleast, a portion of what's to come.

If you love fae books with disabled mains, queer pirates, unhinged anti-heroes, seducing the villain, and overthrowing numerous corrupt societies, then these books are for you.

And now I can officially say I have a finished series. There will be bonus content in the distant future, but I am satisfied with the ending. I nearly didn't finish out the series due to so much frustration I had, but I needed to see it through.

You see, I got better. I would look back on my older stuff and want to knock myself over the head with it. Now, I look back and I roll my eyes. It's not bad, I was just super burnt out and judgy. Am I better now?

Yes, BECAUSE I wrote all of those books that got me to where i am now. They connected, and still do, with people who wanted a queer fae book with characters who are so messed up, that only other messed up people could love them. In the end, that's all that matters.

Because we all deserve to be loved.

Happy Release Day!

You can check out my books here.

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scifrey · 4 months

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THE SKYLARK'S SONG - UNBOXING VIDEO

Available in my store, or on @wattpad.

About the Book

A Saskwyan flight mechanic with uncanny luck, seventeen-year-old Robin Arianhod grew up in the shadow of a decade-long war. But the skies are stalked by the Coyote—a ruthless Klonn pilot who picks off crippled airships and retreating soldiers. And as the only person to have survived an aerial dance with Saskwya’s greatest scourge, Robin has earned his attention.

As a Pilot, Robin is good. But the Coyote is better. When he shoots her down and takes her prisoner, Robin finds herself locked into a new kind of dance. The possibility of genuine affection from a man who should be her enemy has left her with a choice: accept the Coyote’s offer of freedom and romance in exchange for repairing a strange rocket pack that could spell Saskwya’s defeat, but become a traitor to her country. Or betray her own heart and escape. If she takes the rocket pack and flees, she could end the war from the inside.

Filled with intrigue, #forbiddenromance, and a touch of #steampunk, #TheSkylarksSong soars in this new #duology from the award-winning author of #TheAccidentalTurn series.

#enemies to lovers #steampunk #steampunk books #j.m. frey #jmfrey #the skylark's saga #unboxing #cover reveal #Indie author

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mostlysignssomeportents · 7 months

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Brian Merchant’s “Blood In the Machine”

Tomorrow (September 27), I'll be at Chevalier's Books in Los Angeles with Brian Merchant for a joint launch for my new book The Internet Con and his new book, Blood in the Machine. On October 2, I'll be in Boise to host an event with VE Schwab.

In Blood In the Machine, Brian Merchant delivers the definitive history of the Luddites, and the clearest analysis of the automator's playbook, where "entrepreneurs'" lawless extraction from workers is called "innovation" and "inevitable":

https://www.littlebrown.com/titles/brian-merchant/blood-in-the-machine/9780316487740/

History is written by the winners, and so you probably think of the Luddites as brainless, terrified, thick-fingered vandals who smashed machines and burned factories because they didn't understand them. Today, "Luddite" is a slur that means "technophobe" – but that's neither fair, nor accurate.

Luddism has been steadily creeping into pro-labor technological criticism, as workers and technology critics reclaim the term and its history, which is a rich and powerful tale of greed versus solidarity, slavery versus freedom.

The true tale of the Luddites starts with workers demanding that the laws be upheld. When factory owners began to buy automation systems for textile production, they did so in violation of laws that required collaboration with existing craft guilds – laws designed to ensure that automation was phased in gradually, with accommodations for displaced workers. These laws also protected the public, with the guilds evaluating the quality of cloth produced on the machine, acting as a proxy for buyers who might otherwise be tricked into buying inferior goods.

Factory owners flouted these laws. Though the machines made cloth that was less durable and of inferior weave, they sold it to consumers as though it were as good as the guild-made textiles. Factory owners made quiet deals with orphanages to send them very young children who were enslaved to work in their factories, where they were routinely maimed and killed by the new machines. Children who balked at the long hours or attempted escape were viciously beaten (the memoir of one former child slave became a bestseller and inspired Oliver Twist).

The craft guilds begged Parliament to act. They sent delegations, wrote petitions, even got Members of Parliament to draft legislation ordering enforcement of existing laws. Instead, Parliament passed laws criminalizing labor organizing.

The stakes were high. Economic malaise and war had driven up the price of life's essentials. Workers displaced by illegal machines faced starvation – as did their children. Communities were shattered. Workers who had apprenticed for years found themselves graduating into a market that had no jobs for them.

This is the context in which the Luddite uprisings began. Secret cells of workers, working with discipline and tight organization, warned factory owners to uphold the law. They sent letters and posted handbills in which they styled themselves as the army of "King Ludd" or "General Ludd" – Ned Ludd being a mythical figure who had fought back against an abusive boss.

When factory owners ignored these warnings, the Luddites smashed their machines, breaking into factories or intercepting machines en route from the blacksmith shops where they'd been created. They won key victories, with many factory owners backing off from automation plans, but the owners were deep-pocketed and determined.

The ruling Tories had no sympathy for the workers and no interest in upholding the law or punishing the factory owners for violating it. Instead, they dispatched troops to the factory towns, escalating the use of force until England's industrial centers were occupied by literal armies of soldiers. Soldiers who balked at turning their guns on Luddites were publicly flogged to death.

I got very interested in the Luddites in late 2021, when it became clear that everything I thought I knew about the Luddites was wrong. The Luddites weren't anti-technology – rather, they were doing the same thing a science fiction writer does: asking not just what a new technology does, but also who it does it for and who it does it to:

https://locusmag.com/2022/01/cory-doctorow-science-fiction-is-a-luddite-literature/

Unsurprisingly, ever since I started publishing on this subject, I've run into people who have no sympathy for the Luddite cause and who slide into my replies to replicate the 19th Century automation debate. One such person accused the Luddites of using "state violence" to suppress progress.

You couldn't ask for a more perfect example of how the history of the Luddites has been forgotten and replaced with a deliberately misleading account. The "state violence" of the Luddite uprising was entirely on one side. Parliament, under the lackadaisical leadership of "Mad King George," imposed the death penalty on the Luddites. It wasn't just machine-breaking that became a capital crime – "oath taking" (swearing loyalty to the Luddites) also carried the death penalties.

As the Luddites fought on against increasingly well-armed factory owners (one owner bought a cannon to use on workers who threatened his machines), they were subjected to spectacular acts of true state violence. Occupying soldiers rounded up Luddites and suspected Luddites and staged public mass executions, hanging them by the dozen, creating scores widows and fatherless children.

The sf writer Steven Brust says that the test to tell whether someone is on the right or the left is simple: ask whether property rights are more important than human rights. If the person says "property rights are human rights," they are on the right.

The state response to the Luddites crisply illustrates this distinction. The Luddites wanted an orderly and lawful transition to automation, one that brought workers along and created shared prosperity and quality goods. The craft guilds took pride in their products, and saw themselves as guardians of their industry. They were accustomed to enjoying a high degree of bargaining power and autonomy, working from small craft workshops in their homes, which allowed them to set their own work pace, eat with their families, and enjoy modest amounts of leisure.

The factory owners' cause wasn't just increased production – it was increased power. They wanted a workforce that would dance to their tune, work longer hours for less pay. They wanted unilateral control over which products they made and what corners they cut in making those products. They wanted to enrich themselves, even if that meant that thousands starved and their factory floors ran red with the blood of dismembered children.

The Luddites destroyed machines. The factory owners killed Luddites, shooting them at the factory gates, or rounding them up for mass executions. Parliament deputized owners to act as extensions of law enforcement, allowing them to drag suspected Luddites to their own private cells for questioning.

The Luddites viewed property rights as just one instrument for achieving human rights – freedom from hunger and cold – and when property rights conflicted with human rights, they didn't hesitate to smash the machines. For them, human rights trumped property rights.

Their bosses – and their bosses' modern defenders – saw the demands to uphold the laws on automation as demands to bring "state violence" to bear on the wholly private matter of how a rich man should organize his business. On the other hand, literal killing – both on the factory floor and at the gallows – was not "state violence" but rather, a defense of the most important of all the human rights: the rights of property owners.

19th century textile factories were the original Big Tech, and the rhetoric of the factory owners echoes down the ages. When tech barons like Peter Thiel say that "freedom is incompatible with democracy," he means that letting people who work for a living vote will eventually lead to limitations on people who own things for a living, like him.

Then, as now, resistance to Big Tech enjoyed widespread support. The Luddites couldn't have organized in their thousands if their neighbors didn't have their backs. Shelley and Byron wrote widely reproduced paeans to worker uprisings (Byron also defended the Luddites in the House of Lords). The Brontes wrote Luddite novels. Mary Shelley's Frankenstein was a Luddite novel, in which the monster was a sensitive, intelligent creature who merely demanded a say in the technology that created him.

The erasure of the true history of the Luddites was a deliberate act. Despite the popular and elite support the Luddites enjoyed, the owners and their allies in Parliament were able to crush the uprising, using mass murder and imprisonment to force workers to accept immiseration.

The entire supply chain of the textile revolution was soaked in blood. Merchant devotes multiple chapters to the lives of African slaves in America who produced the cotton that the machines in England wove into cloth. Then – as now – automation served to obscure the violence latent in production of finished goods.

But, as Merchant writes, the Luddites didn't lose outright. Historians who study the uprisings record that the places where the Luddites fought most fiercely were the places where automation came most slowly and workers enjoyed the longest shared prosperity.

The motto of Magpie Killjoy's seminal Steampunk Magazine was: "Love the machine, hate the factory." The workers of the Luddite uprising were skilled technologists themselves.

They performed highly technical tasks to produce extremely high-quality goods. They served in craft workshops and controlled their own time.

The factory increased production, but at the cost of autonomy. Factories and their progeny, like assembly lines, made it possible to make more goods (even goods that eventually rose the quality of the craft goods they replaced), but at the cost of human autonomy. Taylorism and other efficiency cults ended up scripting the motions of workers down to the fingertips, and workers were and are subject to increasing surveillance and discipline from their bosses if they deviate. Take too many pee breaks at the Amazon warehouse and you will be marked down for "time off-task."

Steampunk is a dream of craft production at factory scale: in steampunk fantasies, the worker is a solitary genius who can produce high-tech finished goods in their own laboratory. Steampunk has no "dark, satanic mills," no blood in the factory. It's no coincidence that steampunk gained popularity at the same time as the maker movement, in which individual workers use form digital communities. Makers networked together to provide advice and support in craft projects that turn out the kind of technologically sophisticated goods that we associate with vast, heavily-capitalized assembly lines.

But workers are losing autonomy, not gaining it. The steampunk dream is of a world where we get the benefits of factory production with the life of a craft producer. The gig economy has delivered its opposite: craft workers – Uber drivers, casualized doctors and dog-walkers – who are as surveilled and controlled as factory workers.

Gig workers are dispatched by apps, their faces closely studied by cameras for unauthorized eye-movements, their pay changed from moment to moment by an algorithm that docks them for any infraction. They are "reverse centaurs": workers fused to machines where the machine provides the intelligence and the human does its bidding:

https://pluralistic.net/2021/02/17/reverse-centaur/#reverse-centaur

Craft workers in home workshops are told that they're their own bosses, but in reality they are constantly monitored by bossware that watches out of their computers' cameras and listens through its mic. They have to pay for the privilege of working for their bosses, and pay to quit. If their children make so much as a peep, they can lose their jobs. They don't work from home – they live at work:

https://pluralistic.net/2021/01/22/paperback-writer/#toothless

Merchant is a master storyteller and a dedicated researcher. The story he weaves in Blood In the Machine is as gripping as any Propublica deep-dive into the miserable working conditions of today's gig economy. Drawing on primary sources and scholarship, Blood is a kind of Nomadland for Luddites.

Today, Merchant is the technology critic for the LA Times. The final chapters of Blood brings the Luddites into the present day, finding parallels in the labor organizing of the Amazon warehouse workers led by Chris Smalls. The liberal reformers who offered patronizing support to the Luddites – but didn't imagine that they could be masters of their own destiny – are echoed in the rhetoric of Andrew Yang.

And of course, the factory owners' rhetoric is easily transposed to the modern tech baron. Then, as now, we're told that all automation is "progress," that regulatory evasion (Uber's unlicensed taxis, Airbnb's unlicensed hotel rooms, Ring's unregulated surveillance, Tesla's unregulated autopilot) is "innovation." Most of all, we're told that every one of these innovations must exist, that there is no way to stop it, because technology is an autonomous force that is independent of human agency. "There is no alternative" – the rallying cry of Margaret Thatcher – has become our inevitablist catechism.

Squeezing the workers' wages conditions and weakening workers' bargaining power isn't "innovation." It's an old, old story, as old as the factory owners who replaced skilled workers with terrified orphans, sending out for more when a child fell into a machine. Then, as now, this was called "job creation."

Then, as now, there was no way to progress as a worker: no matter how skilled and diligent an Uber driver is, they can't buy their medallion and truly become their own boss, getting a say in their working conditions. They certainly can't hope to rise from a blue-collar job on the streets to a white-collar job in the Uber offices.

Then, as now, a worker was hired by the day, not by the year, and might find themselves with no work the next day, depending on the whim of a factory owner or an algorithm.

As Merchant writes: robots aren't coming for your job; bosses are. The dream of a "dark factory," a "fully automated" Tesla production line, is the dream of a boss who doesn't have to answer to workers, who can press a button and manifest their will, without negotiating with mere workers. The point isn't just to reduce the wage-bill for a finished good – it's to reduce the "friction" of having to care about others and take their needs into account.

Luddites are not – and have never been – anti-technology. Rather, they are pro-human, and see production as a means to an end: broadly shared prosperity. The automation project says it's about replacing humans with machines, but over and over again – in machine learning, in "contactless" delivery, in on-demand workforces – the goal is to turn humans into machines.

There is blood in the machine, Merchant tells us, whether its humans being torn apart by a machine, or humans being transformed into machines.

Brian and I are having a joint book-launch tomorrow night (Sept 27) at Chevalier's Books in Los Angeles for my new book The Internet Con and his new book, Blood in the Machine:

https://www.eventbrite.com/e/the-internet-con-by-cory-doctorow-blood-in-the-machine-by-brian-merchant-tickets-696349940417

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/09/26/enochs-hammer/#thats-fronkonsteen

#pluralistic #books #reviews #brian merchant #luddism #automation #history #gift guide #steampunk #makers #tina #inevitablism #reverse centaurs #amazon #arise

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